UNDP/BUR/8 1/032Assignment ReportConservation of Cultural Heritageof Selected Sites in Burma

FOR INTERNAL USE ONLY:NOT FOR GENERAL DISTRIBUTION

BURMA

Restoration Interventions on a 12thCentury Cloth Painting from Pagan, Burma

by

C. GiantomassiD. Zari

This report represents the views of theauthors and not necessarily those of Unesco

UNITED NATIONS EDUCATIONAL, SCIENTIFIC ANDCULTURAL ORGANIZATION (Unesco)

Paris, 1988

Serial No. FMR/CC/CH/88/224(UNDP)

UNDP/BUR/8 1/032Assignment ReportConservation of Cultural Heritageof Selected Sites in Burma

FOR INTERNAL USE ONLY:NOT FOR GENERAL DISTRIBUTION

BURMA

Restoration Interventions on a 12thCentury Cloth Painting from Pagan, Burma

by

C. GiantomassiD. Zari

This report represents the views of theauthors and not necessarily those of Unesco

UNITED NATIONS EDUCATIONAL, SCIENTIFIC ANDCULTURAL ORGANIZATION (Unesco)

Paris, 1988

Serial No. FMR/CC/CH/88/224(UNDP)

UNDP/BUR/81/032Assignment Report (Giantomassi/Zari)FMR/CC/CH/88/224(UNDP)Paris, 27 May 1988

UNDP/BUR/81/032Assignment Report (Giantomassi/Zari)FMR/CC/CH/88/224(UNDP)Paris, 27 May 1988

TABLE OF CONTENTS

Page

I. INTRODUCTION 1

II. PICTORIAL TECHNIQUE 1

III. STATE OF CONSERVATION 2

IV. RESTORATION INTERVENTIONS 3

V. FINAL OBSERVATIONS AND SUGGESTIONS FOR DEFINITIVE PLACEMENT 4

LIST OF PHOTOGRAPHS

1. Cotton cloth with remains of painting 5

2. Protection cloth with loose weave 5

3. Cloth and thread fragments 64. Preparation fragment 65. Pictorial technique 7

6. Pictorial technique 77. Pictorial technique - decorative strip 8

8. Painting during unpacking 89. Painting during unpacking 910. Upper part of the painting 911. Fragments 1012. Painting after unpacking 1113-16. Detail before restoration 12-1517-19. Visit of His Excellency U Nyung Maung, accompanied

by U San Maung, Ambassador of the Union of Burmato the laboratory 16-17

20. Fragment consolidation 1721. Fragment cleaning 1822. Fragment cleaning 1823. Lining test 1924. Fragments after lining test 1925. Reconstruction trial 2026. Ironing on silk 2127. Lining - the back of the painting is visible through the silk 2128. Back of the painting after the first lining 2229. Second lining 2330. Back of the painting after second lining 2431. Detail of definitive frame 2532. After treatment 2633-42. Detail after treatment 27-36

TABLE OF CONTENTS

Page

I. INTRODUCTION 1

II. PICTORIAL TECHNIQUE 1

III. STATE OF CONSERVATION 2

IV. RESTORATION INTERVENTIONS 3

V. FINAL OBSERVATIONS AND SUGGESTIONS FOR DEFINITIVE PLACEMENT 4

LIST OF PHOTOGRAPHS

1. Cotton cloth with remains of painting 5

2. Protection cloth with loose weave 5

3. Cloth and thread fragments 64. Preparation fragment 65. Pictorial technique 7

6. Pictorial technique 77. Pictorial technique - decorative strip 8

8. Painting during unpacking 89. Painting during unpacking 910. Upper part of the painting 911. Fragments 1012. Painting after unpacking 1113-16. Detail before restoration 12-1517-19. Visit of His Excellency U Nyung Maung, accompanied

by U San Maung, Ambassador of the Union of Burmato the laboratory 16-17

20. Fragment consolidation 1721. Fragment cleaning 1822. Fragment cleaning 1823. Lining test 1924. Fragments after lining test 1925. Reconstruction trial 2026. Ironing on silk 2127. Lining - the back of the painting is visible through the silk 2128. Back of the painting after the first lining 2229. Second lining 2330. Back of the painting after second lining 2431. Detail of definitive frame 2532. After treatment 2633-42. Detail after treatment 27-36

I . INTRODUCTION

1. Within the framework of the UNDP Project BUR/81/032, Conservationof Cultural Heritage of Selected Sites in Burma, the necessary treatment andconservation of the cloth painting which was discovered in Pagan, Burma, wascarried out by two consultants in December 1987.

2. The painting was found a few years ago, rolled up and folded insidea statue. Unfortunately, it was opened without any precautions and reducedto fragments, which were kept for some years in a glass show-case at the Archaeo¬logical Museum of Pagan, obviously without protection against fluctuations oftemperature and humidity.

3. During the missions carried out in Burma (see mission reports onconservation of mural paintings, Pagan -Projects UNDP/Unesco BUR/ 78/023, BUR/ 78/032,BUR/81/032), the authors had the opportunity to observe the condition of extremedeterioration of the fragments*; the Co-ordinator of the Unesco/UNDP projectfor Pagan, proposed that they conserve the remaining material.

4. Considering the fragility of the fragments, their beauty and historicalvalue (these are the only remains of twelfth-century cloth painting found todate in Burma) and the considerable difficulty of obtaining appropriate materialsfor conservation on site, the consultants felt it advisable to bring the workto Italy temporarily for restoration.

5. After obtaining the necessary authorization from the Burmese Government,the Project Co-ordinator packed the fragments on a roll and transported themto Rome, where they were left at the Burmese Embassy. The consultants pickedthem up there and took them to their laboratory.

6. Obviously, before beginning the restoration and recomposition of thefragments, it was necessary to analyse their component materials and test variousconsolidants and lining adhesives on very small pieces.

II. PICTORIAL TECHNIQUE

7. The support is of cotton cloth with a fairly tight perpendicular weave;it is about 81.5 cm wide from selvage to selvage, and about 138 cm high.

8. Sewn to the upper and lower borders of this cloth are two larger bands,folded and sewn along the edge with cotton thread; these bands have a muchlooser weave (almost like gauze), and are also of cotton. This probably actedas a protection for the painted section (see photosl,2,3)

Preparation

9. The central cloth, which was to be painted, was prepared front andback with a thin layer, whitish in colour, probably of gypsum or light clay(see photo 4) .

* The painting is composed of about 30 fragments of various sizes (some onlya few millimetres large).

** P. Schwartzbaum "Conservation of the mural paintings and stuccoes at Pagan",UNDP/BUR/78/023 Assignment Report, Unesco, Paris, 1982, Serial No. FMR/CLT/CH/82/251 (UNDP) (restricted), and

D. Zari et al. "Conservation of mural paintings in Pagan", UNDP/BUR/81/032Assignment Report, Unesco, Paris, 1987, Serial No. FMR/CC/CH/87/280(UNDP) (restricted^

I . INTRODUCTION

1. Within the framework of the UNDP Project BUR/81/032, Conservationof Cultural Heritage of Selected Sites in Burma, the necessary treatment andconservation of the cloth painting which was discovered in Pagan, Burma, wascarried out by two consultants in December 1987.

2. The painting was found a few years ago, rolled up and folded insidea statue. Unfortunately, it was opened without any precautions and reducedto fragments, which were kept for some years in a glass show-case at the Archaeo¬logical Museum of Pagan, obviously without protection against fluctuations oftemperature and humidity.

3. During the missions carried out in Burma (see mission reports onconservation of mural paintings, Pagan -Projects UNDP/Unesco BUR/ 78/023, BUR/ 78/032,BUR/81/032), the authors had the opportunity to observe the condition of extremedeterioration of the fragments*; the Co-ordinator of the Unesco/UNDP projectfor Pagan, proposed that they conserve the remaining material.

4. Considering the fragility of the fragments, their beauty and historicalvalue (these are the only remains of twelfth-century cloth painting found todate in Burma) and the considerable difficulty of obtaining appropriate materialsfor conservation on site, the consultants felt it advisable to bring the workto Italy temporarily for restoration.

5. After obtaining the necessary authorization from the Burmese Government,the Project Co-ordinator packed the fragments on a roll and transported themto Rome, where they were left at the Burmese Embassy. The consultants pickedthem up there and took them to their laboratory.

6. Obviously, before beginning the restoration and recomposition of thefragments, it was necessary to analyse their component materials and test variousconsolidants and lining adhesives on very small pieces.

II. PICTORIAL TECHNIQUE

7. The support is of cotton cloth with a fairly tight perpendicular weave;it is about 81.5 cm wide from selvage to selvage, and about 138 cm high.

8. Sewn to the upper and lower borders of this cloth are two larger bands,folded and sewn along the edge with cotton thread; these bands have a muchlooser weave (almost like gauze), and are also of cotton. This probably actedas a protection for the painted section (see photosl,2,3)

Preparation

9. The central cloth, which was to be painted, was prepared front andback with a thin layer, whitish in colour, probably of gypsum or light clay(see photo 4) .

* The painting is composed of about 30 fragments of various sizes (some onlya few millimetres large).

** P. Schwartzbaum "Conservation of the mural paintings and stuccoes at Pagan",UNDP/BUR/78/023 Assignment Report, Unesco, Paris, 1982, Serial No. FMR/CLT/CH/82/251 (UNDP) (restricted), and

D. Zari et al. "Conservation of mural paintings in Pagan", UNDP/BUR/81/032Assignment Report, Unesco, Paris, 1987, Serial No. FMR/CC/CH/87/280(UNDP) (restricted^

Preparatory drawing

10. One can see traces of a preparatory drawing, which outlines the archi¬tecture and the forms but is rather sketchy. It is executed with a black pigment,directly on the preparation.

Pictorial layer

11. The painting is composed of 5 registers of superimposed scenes, separatedby decorative strips and calligraphy.

12. The upper register is slightly larger than the others, being 25 cmhigh, while the others are 20 cm. A continuous decoration frames the work onthe sides.

13. The composition follows an exclusively frontal view, with no interestin perspective, stressing the rhythm of colour and design.

14. The colours are lively and luminous and spread in compact fields; theoutlines of the figures are obtained with light washes of lacquer or cinnabar;the physionomical details, the folds of the clothing, the jewels and the leavesof the trees are outlined with very fine incised lines, done with violet . orblack lacquer. The pigments used are as follows: orpiment, realgar, cinnabar,Vegetable lacquer, carbon black, yellow ocher, red ocher, copper green and blue(see photos 5, 6, 7) .

III. STATE OF CONSERVATION

15. When the painting was discovered, no graphic or photographic documentationwas done; thus, it was difficult to obtain any idea of the dimensions of thework or the placement of the fragments, or even whether all the pieces belongedto the same work.

16. The cloth appeared to be completely disintegrated, as did the preparationand the colour.

17. The acid action of some black pigments had completely destroyed someportions of the cloth and carbonized other parts; on the back there were numerousinsect nests, dirt, larvae, cocoons, and insect remains.

18. Moreover, the cloth was wrinkled and folded, and many bits of colourwere turned over.

19. The colour and the preparation were full of dust and traces of smoke,streaked with damp, and completely lacking in adhesion and cohesion (see photos8 - 16).

Preparatory drawing

10. One can see traces of a preparatory drawing, which outlines the archi¬tecture and the forms but is rather sketchy. It is executed with a black pigment,directly on the preparation.

Pictorial layer

11. The painting is composed of 5 registers of superimposed scenes, separatedby decorative strips and calligraphy.

12. The upper register is slightly larger than the others, being 25 cmhigh, while the others are 20 cm. A continuous decoration frames the work onthe sides.

13. The composition follows an exclusively frontal view, with no interestin perspective, stressing the rhythm of colour and design.

14. The colours are lively and luminous and spread in compact fields; theoutlines of the figures are obtained with light washes of lacquer or cinnabar;the physionomical details, the folds of the clothing, the jewels and the leavesof the trees are outlined with very fine incised lines, done with violet . orblack lacquer. The pigments used are as follows: orpiment, realgar, cinnabar,Vegetable lacquer, carbon black, yellow ocher, red ocher, copper green and blue(see photos 5, 6, 7) .

III. STATE OF CONSERVATION

15. When the painting was discovered, no graphic or photographic documentationwas done; thus, it was difficult to obtain any idea of the dimensions of thework or the placement of the fragments, or even whether all the pieces belongedto the same work.

16. The cloth appeared to be completely disintegrated, as did the preparationand the colour.

17. The acid action of some black pigments had completely destroyed someportions of the cloth and carbonized other parts; on the back there were numerousinsect nests, dirt, larvae, cocoons, and insect remains.

18. Moreover, the cloth was wrinkled and folded, and many bits of colourwere turned over.

19. The colour and the preparation were full of dust and traces of smoke,streaked with damp, and completely lacking in adhesion and cohesion (see photos8 - 16).

- 3 -

IV. RESTORATION INTERVENTIONS

Consolidation

20. The fragments were unpacked in a suitably moist atmosphere in orderto avoid destroying the painting's structure through excessive dryness of theair; it was then necessary to carry out immediately a light consolidation ofthe entire structure of the painting (cloth, preparation, colour), which wasso disintegrated and fragile that it could not even be handled.

21. To restore a modicum of elasticity to the structure and at the sametime to smooth out the folds and wrinkles of the cloth, gum arabic diluted indistilled water at 5% was used; the fragments were laid on a thin film of trans¬parent polyethylene applied to a sheet of glass (in order to check the backof the painting), and were dampened with gum arabic applied with fine brushesin such a way that the fixative penetrated into the fibres of the cloth, actingin the points where the colour had fallen off; this enabled us to consolidatethe support sufficiently, to make the colour adhere to it, and especially tosoften the cloth, which spread out, adhering to the polyethylene sheet (seephoto 20).

22. Following complete drying of the fixative, the consultants workedwith very light mechanical cleaning to remove dust and insect droppings fromthe colour, using marten brushes and gentle air jets.

23. Subsequently, each fragment was turned over while held between twosheets of glass, in order to continue to clean and consolidate the back of thecloth, where in addition to dust there were numerous spiders' webs and otherinsect nests. In this phase, the many bits of overturned colour were recovered.The entire structure of the painting was subsequently definitively consolidatedthrough absorption of Paraloid B57 at 3% in chlorothene (see photos 21,22) .

Reconstruction of the fragments

24. After consolidation, the consultants attempted to reconstruct theoriginal text. It became clear that the fragments were all part of one painting.They sent photographs of the hypothetical reconstruction to the ArchaeologicalDepartment of Burma, but have had no reply to date.

25. After consulting U Ngwe Win, First Secretary, Burmese Embassy in Rome,Italy, who suggested some possible variations, the consultants decided it was bestto go ahead and reline the painting, given that the type of backing chosen iseasily reversible. Should the reconstruction be considered unsatisfactory inthe future, the painting can be detached and relined without damage (see photos23,24,25).

26. There are only three fragments whose position in the painting is uncertain:two are fragments of inscription which the consultants have lined separatelywith silk, and which can be inserted later; the other is a head of Buddhawhich they have placed on its own in the fourth register, where it certainlybelongs.

- 3 -

IV. RESTORATION INTERVENTIONS

Consolidation

20. The fragments were unpacked in a suitably moist atmosphere in orderto avoid destroying the painting's structure through excessive dryness of theair; it was then necessary to carry out immediately a light consolidation ofthe entire structure of the painting (cloth, preparation, colour), which wasso disintegrated and fragile that it could not even be handled.

21. To restore a modicum of elasticity to the structure and at the sametime to smooth out the folds and wrinkles of the cloth, gum arabic diluted indistilled water at 5% was used; the fragments were laid on a thin film of trans¬parent polyethylene applied to a sheet of glass (in order to check the backof the painting), and were dampened with gum arabic applied with fine brushesin such a way that the fixative penetrated into the fibres of the cloth, actingin the points where the colour had fallen off; this enabled us to consolidatethe support sufficiently, to make the colour adhere to it, and especially tosoften the cloth, which spread out, adhering to the polyethylene sheet (seephoto 20).

22. Following complete drying of the fixative, the consultants workedwith very light mechanical cleaning to remove dust and insect droppings fromthe colour, using marten brushes and gentle air jets.

23. Subsequently, each fragment was turned over while held between twosheets of glass, in order to continue to clean and consolidate the back of thecloth, where in addition to dust there were numerous spiders' webs and otherinsect nests. In this phase, the many bits of overturned colour were recovered.The entire structure of the painting was subsequently definitively consolidatedthrough absorption of Paraloid B57 at 3% in chlorothene (see photos 21,22) .

Reconstruction of the fragments

24. After consolidation, the consultants attempted to reconstruct theoriginal text. It became clear that the fragments were all part of one painting.They sent photographs of the hypothetical reconstruction to the ArchaeologicalDepartment of Burma, but have had no reply to date.

25. After consulting U Ngwe Win, First Secretary, Burmese Embassy in Rome,Italy, who suggested some possible variations, the consultants decided it was bestto go ahead and reline the painting, given that the type of backing chosen iseasily reversible. Should the reconstruction be considered unsatisfactory inthe future, the painting can be detached and relined without damage (see photos23,24,25).

26. There are only three fragments whose position in the painting is uncertain:two are fragments of inscription which the consultants have lined separatelywith silk, and which can be inserted later; the other is a head of Buddhawhich they have placed on its own in the fourth register, where it certainlybelongs.

Lining

27. A contact lining was chosen (the adhesive of the lining does not penetrateinto the fibres of the original cloth, but adheres only to its surface); thelining is made with BEVA 371, a compound of solid synthetic resins in benzene,essence of turpentine or xylol; its melting point is 68°C. Thus it is clearthat mild heat or a very light solvent can be used to detach the fragments again,without damaging them and without affecting the Paraloid or the gum arabic usedfor consolidation.

28. The fragments were first lined with a fine, transparent silk clothso that the position of the pieces could be checked both front and back. Subsequently,they were placed on a lining of linen and cotton cloth to create a more solidsupporting structure. The BEVA was diluted at 307. in rectified benzene andapplied hot to the silk lining on a temporary stretcher, after which the solventwas allowed to evaporate completely. The fragments of the painting were placedon the silk and kept in position by cold pressure. They were ironed from theback at a temperature of about 50°C, which sealed them to the support (see photos26,27,28).

29. The same procedure was then repeated with the linen/cotton cloth.The lined painting was then attached to an aluminium stretcher, with the tensionof the cloth controlled by springs (see photos 29,30,31) .

Aesthetic presentation

30. The reintegration was limited to very small areas of colour loss,which were glazed with Winsor and Newton watercolours.

31. Given the extremely fragmentary nature of the work, it was not consideredappropriate to stucco or reintegrate the missing parts, but instead to leavethe lining cloth visible in those areas. The painted surface was protectedwith a spray of Paraloid B72 at 3% in chlorothene (see photos 32 - 41).

V. FINAL OBSERVATIONS AND SUGGESTIONS FOR DEFINITIVE PLACEMENT

32. The painting was consolidated and attached to a relatively stablesupport. Nevertheless, in order to avoid altering the colour tones and creatinga shine on the pictorial surface, the consolidants were used very sparingly.

33. In any case, the painting is clearly still quite delicate and thusshould not be exposed to excessive fluctuations in temperature and humidity.It should be kept in a place protected from dust and pollutants. The lighting,moreover, must be carefully controlled: avoiding direct sunlight and, if possible,not adding natural light to the artificial light, filtering the light sourceif it emits more than 75 microwatts of UV radiation per lumen; avoiding lightsources that emit infra-red; reducing to a minimum the time of illumination,which, in any event, should never exceed 50 lux of visible light.

34. On their next trip to Burma, the consultants will bring with themthe instruments necessary to control conservation conditions and materials suitablefor maintenance of the painting.

Lining

27. A contact lining was chosen (the adhesive of the lining does not penetrateinto the fibres of the original cloth, but adheres only to its surface); thelining is made with BEVA 371, a compound of solid synthetic resins in benzene,essence of turpentine or xylol; its melting point is 68°C. Thus it is clearthat mild heat or a very light solvent can be used to detach the fragments again,without damaging them and without affecting the Paraloid or the gum arabic usedfor consolidation.

28. The fragments were first lined with a fine, transparent silk clothso that the position of the pieces could be checked both front and back. Subsequently,they were placed on a lining of linen and cotton cloth to create a more solidsupporting structure. The BEVA was diluted at 307. in rectified benzene andapplied hot to the silk lining on a temporary stretcher, after which the solventwas allowed to evaporate completely. The fragments of the painting were placedon the silk and kept in position by cold pressure. They were ironed from theback at a temperature of about 50°C, which sealed them to the support (see photos26,27,28).

29. The same procedure was then repeated with the linen/cotton cloth.The lined painting was then attached to an aluminium stretcher, with the tensionof the cloth controlled by springs (see photos 29,30,31) .

Aesthetic presentation

30. The reintegration was limited to very small areas of colour loss,which were glazed with Winsor and Newton watercolours.

31. Given the extremely fragmentary nature of the work, it was not consideredappropriate to stucco or reintegrate the missing parts, but instead to leavethe lining cloth visible in those areas. The painted surface was protectedwith a spray of Paraloid B72 at 3% in chlorothene (see photos 32 - 41).

V. FINAL OBSERVATIONS AND SUGGESTIONS FOR DEFINITIVE PLACEMENT

32. The painting was consolidated and attached to a relatively stablesupport. Nevertheless, in order to avoid altering the colour tones and creatinga shine on the pictorial surface, the consolidants were used very sparingly.

33. In any case, the painting is clearly still quite delicate and thusshould not be exposed to excessive fluctuations in temperature and humidity.It should be kept in a place protected from dust and pollutants. The lighting,moreover, must be carefully controlled: avoiding direct sunlight and, if possible,not adding natural light to the artificial light, filtering the light sourceif it emits more than 75 microwatts of UV radiation per lumen; avoiding lightsources that emit infra-red; reducing to a minimum the time of illumination,which, in any event, should never exceed 50 lux of visible light.

34. On their next trip to Burma, the consultants will bring with themthe instruments necessary to control conservation conditions and materials suitablefor maintenance of the painting.

- 5 -

1. Cotton cloth with remains of painting.

2. Protection cloth with loose weave.

- 6 -

3. Cloth and thread fragments

4. Preparation fragment.

- 7 -

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5. Pictorial technique.

6, Pictorial technique.

- 8 -

7. Pictorial technique - decorative strip,

8. Painting during unpacking.

- 9 -

9. Painting during unpacking.

10. Upper part of the painting.

- 10 -

11. Fragments.

- 11 -

12. Painting after unpacking.

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- 14 -

15. Detail before restoration,

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- 16 -

17. Visit of His Excellency U Nyunt Maung, accompaniedby U San Maung, Ambassador of the Union of Burma,to our laboratory.

18. Visit of His Excellency U Nyunt Maung, accompaniedby U San Maung, Ambassador of the Union of Burma,to our laboratory.

- 17 -

19. Visit of His Excellency U Nyunt Maung, accompaniedby U San Maung, Ambassador of the Union of Burma,to our laboratory.

20. Fragment consolidation.

- 18 -

21. Fragment cleaning.

22. Fragment cleaning.

- 19 -

23. Lining test.

24. Fragments after lining test.

- 20 -

25. Reconstruction trial.

- 21 -

26. Ironing of lining on silk.

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27. Lining - the back of the painting is visible throughthe silk.

- 22 -

28. Back of the painting after the first lining.

- 23 -

29. Second lining.

- 24 -

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30. Back of the painting after second lining.

- 25 -

31. Detail of definitive frame.

- 26 -

32. After treatment.

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35. Detail after treatment.

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37. Detail after treatment.

38. Detail after treatment.

39. Detail after treatment.

- 34--

40. Detail after treatment.

- 35 -

AI. Detail after treatment.

- 36 -

42. Detail after treatment.